In this sequel to Father of the Bride (1950), newly married Kay Dunstan announces that she and her husband are going to have a baby, leaving her father having to come to grips with the fact that he will soon be a granddad.
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Felix E. Feist
In this sequel to Father of the Bride (1950), Stanley Banks learns that his daughter Kay is going to have a baby. When they get the news everyone except Stanley is overjoyed. His wife and grandmother-to-be Ellie broadcasts it everywhere and all Stan can do is worry about the practical things like how his son-in-law Buckley can afford it. Well, having not long ago paid for the wedding, Stanley has no intention of bearing any of the expenses involved. Buckley's parents and Ellie are overjoyed at the news and virtually take over redecorating the young couple's new house. Crisis and false alarms take over their lives and when the child is born, the only person he doesn't seem to like is Stanley. A walk in the park - and absolute panic when Stanley misplaces his grandson - seems to resolve the situation. Written by
This is one of a handful of Metro-Goldwyn-Mayer productions of the 1950-1951 period whose original copyrights were never renewed and are now apparently in Public Domain; for this reason this title is now offered, often in very inferior copies, at bargain prices, by numerous VHS and DVD distributors who do not normally handle copyrighted or Metro-Goldwyn-Mayer material. See more »
The newborn baby in the hospital shows a fully healed navel. See more »
[after someone called him 'Grampa' at the announcement event]
Somewhere there was a fly in the ointment... Grampa, that was the fly. Grampa.
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The material may be sticky, but the players shine. Fortunately, Tracy's dour reactions keep the soggy motherhood plot from becoming too sweet. His pained grimaces and caustic asides are really quite droll, more amusing however than funny. The young couple, Taylor and Taylor, are right out of a glossy Photoplay, but manage not to be too annoying, while Bennett shows she can do dutiful wives as well as conniving trollops (Scarlet Street, 1945). For some reason the two sons, Tamblyn and Irish, make a brief appearance, then disappear without a trace, and I'm wondering why the script bothered in the first place. Of course, the complications of a first- time baby keep the narrative moving; at the same time, we know perfectly well how things will end. And they do. This is the old MGM dream factory at work even after the boss L.B. Mayer has departed-- big houses, elegant clothes, household servants, and even teenagers with no zits. As the boss himself famously remarked, People don't want to see people like themselves on the big screen, or words to that effect. Not much chance of that here. Still, the movie remains a seductive piece of entertainment, rather like a shiny new suit that doesn't quite fit, but you buy it anyway.
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